{Exterior and Interior Religion}[30th December 1990]

[Redbook8:164][19901230:1614]{Exterior and Interior Religion}[30th December 1990]

19901230.1614

The notion* that Judaism moved from being an exterior religion to an interior one from the time of the prophets, and that this was sealed by the final destruction of the Temple, can be paralleled in our own time from the Reformation onwards. The 2048-year cycle dates are approximately equivalent.

Perhaps this is why the churches are emptying.

*ref N[ew] J[erusalem] B[ible] Ps[alm] 40: 7c (note)

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{The New Romans}[30th December 1990]

[Redbook8:163][19901230:0045]{The New Romans}[30th December 1990]

(29)

30.0045

The parallels between the Greek-Roman relationship and the British-American (USA) relationship* have been remarked upon; the modern parallel might be the European-American (USA) relationship. But it does lead to the suspicion that just as the Roman Republic and Empire can be seen as a ‘bridging cycle’ between two 2048-year cycles, so the Americans may turn out to be fulfilling the same function or role now.

If deterioration began, or at least the turning-point occurred[,] for Rome with the transition from Republic to Empire, we are at an approximately equivalent date now: and the seeds of North American decline and disintegration are being remarked upon. Both the Roman Republic and European North America had their origins approximately 500 years before the end of their respective 2048-year cycles;** Rome lasted c[irca] 400 years on;*** but things began to get difficult fairly early on in the new cycle.

****

*(eg [sic] in relation to the MacMillan-Kennedy era)

**(Rome was actually first populated some centuries earlier)<901230>

***[ie into the new 2048-year cycle, presumably]

****[This seems particularly pertinent at a time when democracy in the United States of America has never appeared under greater threat; it will be interesting to see how that resolves, or develops.<20221120>]

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{Irreverent comments [continued]}[29th December 1990]

[Redbook8:163][19901229:2333b]{Irreverent comments [continued]}[29th December 1990]

.2333

[continued]

‘When I was a kid, I used to pray every night for a new bicycle. Then I realised that the Lord doesn’t work that way, so I stole one and asked him to forgive me.’

– Emo Philips, ibid

[‘Emo Philips, Comedian and Mammal’, S4C[TV], 1300]

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{Irreverent comments}[29th December 1990]

[Redbook8:162-163][19901229:2333]{Irreverent comments}[29th December 1990]

.2333

‘I don’t know whether I was put on this earth for a purpose, but I’m fairly confident that I’m going to be taken off it for one.’

– ‘Emo Philips, Comedian and Mammal’, S4C[TV], 1300

[continued]

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{Aegean Art}[29th December 1990]

[Redbook8:162][19901229:1210i]{Aegean Art}[29th December 1990]

19901229:1210

[continued]

‘Many time in the preceding pages the essential stylistic and thematic characteristics of the art of the Cyclades, Crete and the Greek mainland have been emphasised: the open, unsophisticated freshness of Cycladic taste, the subtler fluidity of Minoan art and its concentration on subjects from nature and religion, the formality, insensitivity and violent preoccupations of the Mycenaeans.’

– ibid [Encylopaedia of Visual Art 1:] 112

[(followed by qualifications, per repetition at fn=* below)]

*

*{repeated at [[Redbook8:200-205][19910128:1247]{Hellenistic Greek Art}[28th January 1991]ff, @ [Redbook8:205][19910130:1235#]{Hellenistic Greek Art [continued #]}[30th January 1991,] 205, below}

[– which, see]

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{Marine Spirals}[29th December 1990]

[Redbook8:162][19901229:1210h]{Marine Spirals}[29th December 1990]

19901229:1210

[continued]

See E[ncylopaedia of] V[isual] A[rt ] 1:104 for “Marine” style jar from Zakro, Crete, c1500-1450bce – decorated with nautili (each with 3 spiralling tentacles).*

*illus[tration] E[ncylopaedia of] V[isual] A[rt ] 1:104 <910725>

[‘A “Marine style” jar decorated with nautili from Zakro; […] c 1500-1450BC[E]. Heraklion Museum’]

[copied in ms but not in ts]

{cf [[Redbook8:166-167][19901231:1301d]{Geometric Pottery}[31st December 1990] [illustrations]],] 167,

[[Redbook8:161][19901229:1210d]{Crisis Resolution in Aegean Pottery Cycles}[29th December 1990]&f,] 161}

**(c[ontra] M~ 1536BCE)<910725>

{but see [[Redbook8:161][19901229:1210e]{Crisis Resolution in Aegean Pottery Cycles [continued]}[29th December 1990],] 161 above re I[nner] C[ircle] g~}

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{A Priestess of Thera}[29th December 1990]

[Redbook8:162][19901229:1210g]{A Priestess of Thera}[29th December 1990]

19901229:1210

[continued]

See E[ncylopaedia of] V[isual] A[rt ] 1:106 (Illus[tration] ‘The Priestess’ – note the horned shell as ?bowl, snake headdress, and pendant earring prominently displayed:*

*[In the ms here there is a very small representation of a square cross within a circle)]

{(Late16thC[entury]BCE)}

{(Too faint to copy, I think)}

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{Mycenaean Frescoes}[29th December 1990]

[Redbook8:162][19901229:1210f]{Mycenaean Frescoes}[29th December 1990]

19901229:1210

[continued]

And* re Mycenaean frescoes: ‘The naturalism of typical Crete has gone. Plant and animal life is stylised; poses are formal and rigid; the composition is heavy and forbidding; and figures are vast and undynamic. There is a new emphasis on scenes of combat.’

– ibid [Encylopaedia of Visual Art 1:] 105-108

*[See last previous entry]

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{Crisis Resolution in Aegean Pottery Cycles [continued]}[29th December 1990]

[Redbook8:161][19901229:1210e]{Crisis Resolution in Aegean Pottery Cycles [continued]}[29th December 1990]

19901229:1210

[continued]

See continuation and explication of this* in E[ncylopaedia of] V[isual] A[rt] 1: 102-3, especially contrasting artistic sophistication of pottery in Crete in Early Palace Period (c2200-1700bce) (developing colours, curves, spirals, flowers)** versus contemporary mainland pottery, with which it has little in common: eg Gray Minyan, and Mat-painted ware.***

This can be represented as the end of one 2048 year period (Cycladic → Cretan), **** and the beginning of another (Mycenaean → Greek), showing clearly

(a) the artistic contrast between G~-R~-C of the 1st and C-S~-M~ of the 2^nd; and

(b) the overrun of Minoan Cretan civilisation# (which mostly consisted of this overrun) into the second period as what seems to be the beginning of a (2^nd 2048 [year] cycle) inner-circle C-r~-g~ sector: even as the artistic achievements of this culture are transmitted to the mainland (predominantly outer?) second 2048 year cycle, perhaps increasing the weight of the 2^nd cycle[’]s (late Greek?) inner circle, so by about the end of the crisis resolution period the (Mycenaean) Outer Circle of the 2^nd 2048 [year] cycle has crushed the (Cretan) Inner Circle.

#*

*[See last previous entry]

**(See illus[tration] E[ncylopaedia of] V[isual] A[rt 1:] 102)

***(See illus[tration] E[ncylopaedia of] V[isual] A[rt 1:] 103)

****at 2048bce

#See XI: [] 47 &c re I[nner] C[ircle] & overrun into later stages of O[uter] C[ircle] <910725>

#*See [[Redbook8:44-67][19901027ff]{Comparative Chronology}[27th October 1990],] 52,

[[Redbook8:44-67][19901027ff]{Comparative Chronology}[27th October 1990],] 54

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{Crisis Resolution in Aegean Pottery Cycles}[29th December 1990]

[Redbook8:161][19901229:1210d]{Crisis Resolution in Aegean Pottery Cycles}[29th December 1990]

19901229:1210

[continued]

‘The use of burnishing as a primary decorative technique* is most common in the Early and Middle Bronze Age. Incised patterns are early and Cycladic. The incised lines are sometimes filled with a white substance. Until the Cretan palaces were well established, most painted decoration was simple linear. After this, in Crete and subsequently on the mainland, it became increasingly complex and naturalistic motifs were adopted. In the course of time these often became stylised and their origin would be quite obscure were it not possible to trace the history of motifs from source. Such stylisation is particularly characteristic of the later part of our period.** Figured scenes occur but are not common.’

– E[ncylopaedia of] V[isual] A[rt] 1: 101-2

***

*(of Aegean pottery)

**(Aegean, 3000-1100bce)

*** – illus[tration] E[ncylopaedia of] V[isual] A[rt] 1: 102 <910725>

[‘An example of Kamares style pottery: a clay pithos from Phaestos; […] c1700BC[E]. Heraklion Museum’]

<inserted [in ms] 910725>

{cf [(presumably,) [Redbook8:162][19901229:1210f]{Aegean Art}[29th December 1990] [illustration],] 162,

[[Redbook8:166(-167)][19901231:1301c]{Protogeometric Pottery}[31st December 1990] [illustrations]],]

[[Redbook8:166-167][19901231:1301d]{Geometric Pottery}[31st December 1990] [illustrations]],] 167}

[continued]

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{Cycles and other theories in Art History}[29th December 1990]

[Redbook8:160][19901229:1210c]{Cycles and other theories in Art History}[29th December 1990]

19901229:1210

[continued]

*

**

*(I can’t remember whether I’ve extracted this (or part of it) earlier.)

{(This is repeated in X: [] (near end)))}

[Yes, in part, at [Redbook7:164][19900705:2310]{Artistic Cycles (2) (Extract)}[2nd July 1990];

& cf a similar critique of cycle theories in general history extracted at

[Redbook7:333][19900924:2123c]{Selective Cycles (2)}[24th September 1990]];

& cf also [Redbook8:130][19901220:1735]{System-building}[20th December 1990],

& [Redbook8:111][19901112:1205c]{Historical Laws}[12th November 1990];

&[Redbook7:180][19900731:2305c]{Selective Cycles (1)}[31st July 1990]]

[See also [Redbook8:170][19910105:1420]{Sorokin on historical cycles}[5th January1991]]

**{64G~1904

64G~1912

64G~1920}

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